A thesis submitted in partial satisfaction of the· requirements for the ...
-
Upload
khangminh22 -
Category
Documents
-
view
3 -
download
0
Transcript of A thesis submitted in partial satisfaction of the· requirements for the ...
CALIFOR.'HA STA'rE UNIVEH.SITY, NORTHRIDGE
ADJlLPTA'TION OF KOREAN CEREMONIAL Df<ESS
INTO AMERICAN DRESS S'I'YLES
A thesis submitted in partial satisfaction of the· requirements for the degree of Master of Science in
Horne Economics
by
Sara Soon Yoo
June 1981
The thesis of Sara Soon Yoo is approved:
Ann~.-stasch, Ph.D.
F~ances P. ~?ite, M.S.
Nancy Ve ASwens, Ph.D. , Commit ee Chairman
California State University, Northridge
ii
ACKNOlvLEDGMENTS
The author wishes to express her appreciation to
Dr. Nancy J. Owens for her guidance and assistance in the
completion of this thesis, to Mrs. Frances P. White for
her help in draping the garments, and to Dr. Ann R. Stasch
for her help in the final analysis of this thesis.
Special thanks go to all of the women who com-
pleted the questionnaire and thereby made this study
possible.
A special acknowledgment of thanks goes to the
faculty members in the Department of Home Economics for
their confidence and encouragement.
iv
TABLE OF CONTENTS
DEDICATION . . . .
ACKNOWLEDGMENTS
LIST OF TABLES . .
LIST OF PLATES . .
ABSTRI\CT
Chapter
1. INTRODUCTION . .
Justif ica t.ion
Objectives ...
Null Hypotheses
Research Hypotheses
Assumptions
Limitation .
Q) H.EVIEW OF LITERATURE .
Korean History •
Fabrics
Korean Women's Ordinary Dress
Korean Women's Ceremonial Dress
Colors of Costume
3.
4.
PROCEDURE • • • • .. lllf • ••
RESULTS AND DISCUSSION . .
Description of Respondents .
v
Page
iii
iv
vii
. . . viii
X
1
2
2
3
3
4
4
5
5
8
13
26.
38
42
44
44
Chapter
s.
Knowledge of and Experience with Korean Costume
Opinions on Garments Shown .
SU.f\Wu"\RY, CONCLUSIONS AND RECOi:-Ii-lENDl\TIONS • • •
Recommendations for Further Study
REFERENCES
APPENDIXES
A. QUESTIONNAIRE WRITTEN IN ENGLISH QUESTIONNAIRE l\!RI'I'TEN IN KOREAN
B. SKETCHES, DESCRIPTIONS AND PICTUHES OF GARMENTS • • •
c. LIST OF TABLES .
vi
Page
46
48
53
58
59
62
69
80
LIST OF' TABLES
Table
1. Descriptive Data on the Respondents .
2. Question 4: Have you ever seen traditional Korean ceremonial costumes? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? (Korean responses only)
3. Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? {Korean responses only)
4. Question 6: Have you ever worn traditional Korean ceremonial costumes? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? (Korean responses only)
5. Question 7: How often do you wear traditional Korean clothes? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? (Korean responses only)
6. Question 8: How many traditional Korean dresses do you have? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? {Korean responses only)
7. Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress? vs
vii
Page
45
82
83
84
85
86
Table
Question 2: lvhere were you born? Question 3: How many years have
you lived in the United States? (Korean responses only)
8. Question 10: If Yes (to #9), what would help you to determine her social status? vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? {Korean responses only) . . .
9. Question 11: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American dresses? (for each garment) vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? (Korean responses only)
10. Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? (for each garment) vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States?
Page
87
88
89
(Korean responses only) . . . . . • . 92
11. Question 13: Please rank them in the order in which you like them, with your favorite ranked as 1 and your least favorite ranked as 5. vs
Question 2: Where were you born? Question 3: How many years have
you lived in the United States? (Korean responses only) . . . . 95
12. Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of
viii
Table
the garment you like. (for each garment ) vs
Question 2: Where were you born? Question 3: How many years h~ve
you lived in the United States? (Korean responses only) • • . . .
ix
Page
96
LIST OF PLA'l'ES
PLATE Page
I. NUBI-CHOGORI . . . . . . . . 15
II. SOJI.1-CHOGORI . . . . . . 15
III. KEKI-CHOGORI . . . . . . . . . . . 16
IV. HOEJANG-CHOGORI . . . . . . 16
v. SM1-HOEJANG-CHOGORI . . . 18
VI. BAN-HOEJP~G-CHOGORI . . . 18
VII. CHIHA . . . . . . . . . . . . . 19
VIII. CHAN GOT . . . . 21
IX. SOKOT . . . . . . . 23
x. PAGI . . . . . . . . . . 23
XI. DAN-SOKOT 23
XII. BUS UN . . . . 25
XIII. TANGJU . . . . 27
XIV. YUNJU . . . . . . 27
XV. SUJU . . . w . . 27
XVI. JIN-SHIN . . . . . . . . . . . . 28
XVII. NAJ1.1AKSHIN . . . . . . . . . 28
XVIII. MITURI . . . . 29
XIX. JIPSIN . . . . . . . . 29
XX. JUKOUE . . . . . . . . . . . . . . . . . 30
XXI. WONSl\11. . . . . . . . . . 32
XXII. WHALOT . . . . . . . 34
X
ABSTRACT
ADAPTATION OF KOREAN CEREMONIAL DRESS
INTO AMERICAN DRESS S'fYLES
by
Sara Soon Yoo
Haster of Science in Home Economics
May 1981
Five garments were adapted into modern American
styles from traditional Korean women's ceremonial garments
by draping them on a dress form. A questionnaire was
utilized to obt.ain Cauca.sian and Korean women's opinions
about traditional Korean women's ceremonial garments and
the derived garments. A collection of five garments with
the questionnaires was presented to women who lived in Los
Angeles and were members of Korean Protestant churches or
the Presbyterian Church in Encino~ The garments designed
varied in style from day dresses to formal evening wear.
The women viewing and wearing the garments responded to
the questionnaire during the modeling of the dresses.
A higher percentage of Korean than Caucasian women
preferred these dresses. Caucasian women preferred the
color of the garments and the Korean women preferred the
style of the garments. The garment to which both sets of
xii
women responded most favorably was the blue silk one
adapted from the queen's ordinary clothes.
\ ~- ' -,
There was a significant difference between the
numbers of Caucasian and Korean women who had worn Korean
ceremonial costumes previously. There was no significant
difference in preference among the Korean women who had
lived in the United States for different lengths of time.
It '"as concluded that there is a need for dresses
specifically designed for Korean women and that clothing
manufacturers and pattern companies should be made aware
of this need.
xiii
Chapter 1
INTRODUCTION
The essential characteristics of a nation and its
customs can be seen by the clothing that the people wear
in daily life, with cultural trends being illustrated
through upper-class costume {Suk, 1971, p. 7). According
to Lillian B. Matthews (1979), writing about the dress and
values of women,
Dress is the modification human beings make in their appearance. The study of dress, therefore, is a factor of material culture and can provide insights useful in interpreting other aspects of behavior. Analysis of dress in its broadest meaning contributes to the understanding of individual and group social roles, as well as alterations in other cultural forms {Matthews, 1979j.
Since dress directly reflects the cultural and
social background of a society, research solely on dress
and on clothing material cannot be accomplished. An
understanding of the history for that particular society
is needed.
Although Korea has its own traditional costumes,
there exists practically no evidence of ceremonial dress
prior to the Yi dynasty. However, literature and arti-
facts illustrating the dress styl~s and the textiles of
the Yi dynasty are available. Therefore, most of the
information included in this study originated from or was
1
' .
related to the Yi dynasty.
For this study, five garments were adapted into
modern American style from traditional Korean women's
ceremonial garments, with the designs draped on a dress
form.
Justification
Studies available in the English language on
Korean dress have been either historical studies on
traditional dress or descriptive studies done with women
subjects who live in Korea.
Many Korean women are now living in the United
States, especially in Southern California. Most wear
western dress, which is foreign to their heritage. The
question addressed in this study was whether styles with
a western look derived from Korean traditional dress
would be more acceptable to Korean women living in the
Los Angeles area than was regular western dress.
Objectives
The objectives of this study were:
1. to identify traditional Korean women's gar
ments which would lend themselves to design
adaptation for western styles;
2. to create, by draping, original garments
which were inspired by traditional Korean
2
dress;
3. to determine the degree of acceptability of
these styles to Korean women living in the
Los Angeles area; and
4. to determine the acceptability of these
styles to Caucasian women living in the Los
Angeles area.
Null Hypotheses
1. There is no significant difference in the
acceptability of the garments between women
of Korean heritage and women of Caucasian
heritage.
2. There is no significant difference in the
acceptability of the garments designed,
depending upon the number of years women of
Korean heritage have lived in the United
States.
3. There is no significant difference in the
acceptability of the garments designed for
this research and the availability of western
fashions to women of Korean heritage.
Research Hypotheses
1. There is a significant difference in ·the
acceptability of the garments between women
3
of Korean heritage and women of Caucasian
heritage.
2. There is a significant difference in the
acceptability of the garments designed,
depending upon the number ?f years women of
Korean heritage have lived in the United
States.
3. There is a significant difference between the
acceptability of the garments designed for
this research and the availability of fashions
to \vomen of Korean heritage.
Assumptions
In the context of the current study, it was
assumed that:
1. A questionnaire was an appropriate method for
obtaining information from subjects.
2. The subjects selected were typical of women
of both Korean and Caucasian heritage living
in the Los Angeles area.
Limitation
The study was limited to five garments adapted
from Korean traditional dress because of financial and
time restrictions.
4
Chapter 2
REVIEW OF LITERATURE
Modern Korea, in the midst of ~ndustrialization
which has been occurring for the past twenty-five years,
has maintained its traditional heritage. Five ancient
palaces are still present in Seoul, coexisting with modern
skyscrapers and industrial plants. One can see on the
sidewalks of the city older men and women in traditional
costume mingling with young people dressed in the latest
western fashions.
This review of the literature has been divided
into five sections. The first part is a brief description
of Korean history, included to define the type of culture
influencing traditional costume. A discussion of the
types of fabrics used for clothing is the next section.
Women's dress in general is then described, followed by
information on the five traditional ceremonial costumes
which have served as the design inspiration for the
garments draped for this study. The meaning and use of
colors as interpreted in Korean society concludes the
review.
Korean History
Korea traces its identity as a country back to
5
Dun Gun, who was thought to have ruled at approximately
2400 B.C.
From 57 B.C. to A.D. 668, there were three
kingdoms existing in the Korean peninsula: Koguryo in
the north, Paekche in the southwest, and Silla in the
east. All began as tribal confederations and there was
much conflict between them, leading to frequent warfare
over territory and available food. The Chinese influence
on the three kingdoms was strong, affecting the older
native traditions but never completely replacing them.
All three kingdoms eventually came to a high cultural
development as a result of the absorption of Chinese
ideas.
In A.D. 668, Mu Youl, king of Silla, the strongest
military power, united the three kingdoms with the help of
the Tang dynasty of China. Buddhism became a dominant
force in the spiritual and cultural life of the new
country and many years of peace and prosperity followed
(Suk, 1971, p. 17).
The people of Silla built magnificent temples
with beautiful Buddhist sculptures and established
astronomical observatories, some of which still remain in
Kyong Ju, which was the capital of Silla. The court of
the united Silla, which interacted wit,h Tang China,
adopted as the official uniform of the court the costume
of the Tang Chinese emperor, and this costume was worn up
6
to the end of the Yi dynasty. Whenever the Tang dynasty
came in contact with the Yi dynasty, the Chinese emperor
sent official clothing to the Korean emperor and his
court (Suk, 1971, p. 23).
However, the united Silla was gradually \veakened,
with the last king of Silla surrendering his kingdom to
Wang Kon without resistance. Wang Kon founded a new
kingdom named Koryo in the western area of the Korean
peninsula in A.D. 918. At this time, schools were
established, and tax laws to stabilize national revenues
were adopted. During this period,bronze coins were used
and refined porcelain household objects were produced
(Woo, 1970, pp. 132-34).
Yi Song Ge came into power in Korea in the year
1392 and founded the Yi dynasty (1392-1910). The people
were called Yi Se Jo Sun (Pow, Cho, and Hong, 1972,
p. 60). Yi Song Ge reorganized the entire system of
government and administration. The reign of the fourth
Yi king, Se Jong (1418-1450), was the most creative period
in the history of the Yi dynasty. Se Jong created the
alphabet known as Han Gul, which is still 'used in Korea.
Until this time, the Chinese alphabet had been used. Se
Jong was responsible for progress in education, astronomy,
art, and politics. During the latter half of the Yi
period, Koreans became aware of Western European ideas.
In reaction to the sudden changes in Korean society
7
caused by these ideas, the farmers rebelled, causing the
Dong-Hak revolution which was anti-foreign and reformist.
This movement started in the southeastern peninsula and
spread rapidly throughout the country. The government
repressed it with the aid of the Japanese army (Woo, 1970,
PP o 4 0 5 1 413 -14 ) o
Japan, under the leadership of Toyotomi Hideyoshi,
conquered Korea in the sixteenth century. Korea was
opened to the outside world by Japan in 1876, and a treaty
with the United States \vas made in 1882. Korea proclaimed
its independence from Japan on August 25, 1945, thus
ending the 500-year Yi dynasty (Cho, 1956, pp. 213-16).
The Korean War began in 1950. Since the 1953
armistice, Korea has had close relationship with western
culture, chiefly through personal contacts between·
Koreans and the American Armed Forces and through economic
aid projects, films, magazines, and television.
Fabrics
There are no exact historical records as to when
the ancient Koreans started using mapo (a type of ramie)
or silk in their daily lives.
Ramie
According to Done-E-Joen, written by an early
Chinese historian, early Koreans in the Sam-Kuk dynasty
8
already knew.how to spin yarn and make and process fabric
from ramie. In A.D. 284, during the Korean Packche
dynasty, King Kori sent an expert in the art of making
fabrics of ramie to Japan {Anspach and Kwon, 1976). There
is also a written record that King Chon-Chie, during the
same Packche dynasty, sent white mapa, the finest ramie
fiber available, to Japan (Suk, 1971, p. 159).
In a later period, there was a popular custom
wherein all the ladies in the palace participated in a
competition to determine which group could make the finest
fabric from ramie. The winning group received a prize
from the king. All enjoyed the festival fun, which
promoted the importance of fabric making (Suk, 1971,
p. 160).
During the reign of King Eun-Hae in the Silla
dynasty, the fine ramie was treated as very important
merchandise in the trade with Japan. The luxurious life
style of the most famous queen of Silla, Chin-Duck,
inspired various styles of clothes and fabric patterns.
Eventually this stimulated the textile and apparel
industries and provided the basis for the design and
fabrics used in the formal palace clothes. Several grades
of ramie fabric, based on fineness, already had been
developed by that time. Quality grades from a minimum
of thirteen to a maximum of twenty-eight were allowed to
be worn by officers in the government. The top-ranking
9
officers, called Ghingol, could use group twenty-six.
However, their wives were only to wear up to the highest
grading, twenty-eight. It is interesting that, in
general, females -.;vore better quality fabrics. The king
assigned several officers to travel around to inspect and
encourage the product.ion of ramie in order to improve the
quality of the textiles made from this fiber (Suk, 1971,
p. 160).
Fabric production was an important industry in
the Korean kingdoms. The technology was at a high level
due to the demand for luxurious life-styles by the upper
class.
A fine quality fabric of ramie, called ~yong-Joo
fabric, is still popular in the countryside of Korea,
particularly for burial clothes. The finest quality ramie
fabric, called mosi, originated in a city named <Ham-Sam\
Mosi was a sunbleached white fabric. Ham-Sam is famous
for its hand-made fabrics of mosi, which is still very
popular and used by elderly people during the hot summer
(Suk, 1971, p. 160).
The raw material of sam-be, a type of unbleached
muslin, is obtained from the stem of a plant called ~·
Sam-be looks like a fabric made from hemp. This plant is
cultivated in early spring and grows to the height of
2 to 2.5 meters by August. It is harvested in early
September. Sam-be is also favored by many Koreans for hot
10
.l >-J
sununer wear (Suk, 1971, p. 165).
Silk
The et:ymology of the word "silk" points authori-
tatively to the East as the origin of the luxurious
fabrics made from this fiber. "Silk" is derived from
"Seres," the name given to the ancient Chinese and the
other inhabitants of Eastern Asia.
Sericulture was developed in China. According to
Walton (1925, p. 46),
It was not until the third century A.D. that the Japanese learned of the manufacture of silk through the Koreans, and then they sent Koreans to China to engage people to teach the art to the Japanese. Three Chinese girls were brought back, who taught the Japanese court and people the art of plain and figure weaving.
Silk was used only by the upper classes in ancient
Korea. Although records are not clear as to when seri-
culture reached Korea, they do indicate that the emperor
of China was presented with a gift of an embroidered
silk wall hanging made by the queen of Silla in the sixth
century A.D. (Yoo, 1975, p. 120).
Ear~y silk patterns captured the peculiar exotic
quality of the country. Early silk fabrics were hand-
woven with softly blurred warp print patterns. Certain
traditional designs are still used in modern fabrics.
Maebong, an early chrysanthemum pattern in gently
undulating repeats, is printed in soft bronze-like colors.
11
Koryo, with its small elongated and curled puffs of
clouds, appears in pastels. Rose, a stripe of large
flower faces, is in intense hues. Tangun, a stylized
heart motif, has large ombre shifts of intense colors~
Chunchon Mountains, named for a mounta.in range near Seoul,
is depicted as rmvs of peaked color in bronzy earth tones,
interrupted here and there with a jolting spot of
brilliant color. Chevron, a subtle broken herringbone,
appears in pale milky-white colors. Toksu is a pattern
of hanging chains of diamonds in tones of a single color
with a simple design {Kavanaugh, 1976).
Cotton
During the reign of Kong-Ming, the thirty-first
ruler in the Koryo dynasty, Moon Ik Cham brought cotton
seed to Korea from China. He planted the first cotton
seeds in Korea and introduced the technology of making
yarns and fabric from cotton. Moon served as a diplomat
to China and was honored for his contributions to the
revolution of the old Korean textile industry {Suk, 1971,
pp. 159-60).
Cotton was used for the clothing of common people.
They grew the plants, separated the fibers from the
plants, spun the yarn, and wove the fabric by hand. To
prepare the fabric for a garment took a great deal of
time. Cotton was also used for padding in quilted
12
garments. Lowell described its use as, "Wool is quite
unknow·n, for there are no sheep any¥1here on the peninsula.
But on the score of warmth, wadded cotton, although
perhaps a little bulky, serves equally well" {Lowell,
1951' p. 325).
Korean Women's Ordinary Dress
According to Lmvell {1951, p. 319),
The v1ay in which the far-Oriental regards dress is somewhat peculiar. I can think of no simile so descriptive as the connection we tacitly assume between spirit and body. We hardly, in ordinary life, think of the one as devoid of the other, and we regard the latter as at least the sense impression to us of the person within. So do they with dress.
The ordinary women's costumes developed without
great influence from any foreign country, while the
official male costumes were strongly influenced by China.
The basic silhouette was retained in all clothing regard-
less of social status, although social status was
identifiable by the material, color, and ornamentation of
the costume (Suk, 1971, p. 77).
Chogori
Korean women's clothes were traditionally simple
in style and two-piece garments. The short jacket was
called a chogori {PLATES I-VI, pp. 15,16,18). It had a
white collar which was sewn to the j acke.t but could be
removed and replaced when it became dirty. The top of
13
the sleeves was cut square with the shoulder line with
the circular cut undersleeve seam taped back to fit tight
at the wrist. This jacket fastened in front with two long
strips of cloth in place of buttons and buttonholes. It
was worn \vi th a
chima (PLATE VII, p. 19), a long skirt which was full and worn high on the figure with the waistband of the skirt compressing the breasts. The total effect of this Korean costume was similar to that of a shortjacketed gown with an empire waistline and a long full gathered skirt. The chogori is worn with the chima top" (Anspach and Kwon, 1976).
There were several types of chogoris, separated
according to their use by ancient Korean women. The nubi-
chogori was made of two layers of silk or cotton fabric,
with layers of extra cotton fabric between, which were
quilted at narrow intervals. There were four different
nubi-chogoris (PLATE I, p. 15), called jan-nubi, nap-jac-
!!ubi, oue-mok-nubi, and jan-ju-nubi, depending on the
quilting pattern. Most of them were made by hand. Jade
green was the most popular color during the Yi dynasty
( S uk , 1 9 71 , p . 516 ) .
The som-chogori (PLATE II, p. 15) was padded with
cotton fabric and fiber but was not quilted. Both the
nubi and the som-chogori were worn during the winter to
protect the wearer from the cold.
The keki-chogori (PLATE III, p. 16) was a lined
top made of semi-opaque fabric stitched three times on
one line so as not to show the seam allowance, and the
14
juksam was a.single layered top. Both the keki-chogori
and juksam \\7ere worn in the summer time. For spring and
fall, chogories were made of double layers of cotton or
silk.
There were two kinds of hoejang-chogori (PLATE
IV, p. 16) which were identified by style and color. The
sam-hoejang-chogori (PLATE V, p. 18) used a crimson fabric
for the collar, the end of the sleeves, the ribbon ties,
and the decorative gussets and was worn by upper class
young women. The ban-hoejang-chogori (PLATE VI, p. 18)
had indigo fabric for the end of the sleeves and crimson
fabric for the collar and the ribbon ties and was similar
to the sam-hoejang-chogori except that it did not have
decorative gussets (Suk, 1971, pp. 517-18).
Chima
The chima (PLATE VII, p. 19) was a finely pleated,
floor-length long skirt which had a long cotton band on
top to tie it around the bosom, similar to the skirt of a
surplice gown. Usually the chima was made with twelve
pieces of thirteen-inch-wide fabric sewn together, but the
upper class women's chimas were made with thirteen pieces
of thirteen-inch-wide fabric. Common people wore a
cotton chima (Suk, 1971, p. 518). How the chima was worn
indicated the social status of the person. For example,
a gisan~ or concubine would wear the chima with the left
17
side lapped over the right side, while ordinary wives
wore it with the right side lapped over the left. Lower
class \vomen, such as the gisang, could not wear a lined
chima but only one made of a single layer (Walton, 1925,
p. 495).
The sulan-chima had a detachable sulan trim at
the top and the bottom of the chima. The sulan trim was
about fifteen to bventy centimeters in width; thus the
sulan-chima would drag on the floor about thirty centi
meters with the sulan trimdragging on the floor an
additional thirty centimeters. The sulan trim had golden
foil patterns on it and it could be unstitched when the
garment needed to be laundered. 'Ghe golden foil patterns
varied with social status~ such as a dragon pattern for
the queen, a phoenix for a princess, and Chinese charac-
ters and flowers for a high officer's wife (Kim, 1963,
p. 845).' If there were two detachable sulan trims, the
garment was called a tealan-chima.
The middle and higher class women in Korea wore
the changot (PLATE VIII, p. 21) or sugea-chima to veil
their faces when passing through the public streets.
These veils concealed a woman's faGe, which gave her
higher status. Women in the Yi dynasty wore veils while
riding horses. The sugea-chima was made of light blue
cotton and was worn by middle class women for ordinary
day wear, while the chanaot was worn for formal occasions.
20
Undergarments
For undergarments (PLATES IX-XI, p. 23), Korean
\vomen usually wore three baggy trousers which had bands
on the top stitched to pleats. The inner layer was called
sokot, over which the pagi (knee-length) was worn, and
finally the dan-sokot (calf-length) was worn (Suk, 1971,
p. 519). The sokot was made from cotton or hemp for the
middle class and silk or ramie for the nobility. The
woman's ~differed from the man's, which was used as
an outer garment. The function of the dan-sokot was
similar to that of a slip (Kim, 1963, pp. 496-98).
Commoners wore a chima on top of these underpants
for daily use, while on special occasions, upper class
women wore three underskirts over the trousers. Kim
(1972, p. 24) described these as follows:
The first one was the mumiki, which was a three, five or seven-layered pleated under skirt reaching to the ankle. Each layer used different colors, so it was called mujiki, which means rainbow. The mujiki was made of hemp. The next underskirt worn was longer and fuller than the first one. It was made of twelve pieces of ramie and a four to five centimeter piece of Chinese paper was attached at the hem to make it stiff. However, this underskirt was worn only at the palace.
Above the waist, ancient Korean women wore a sog-
juksam, which was similar in style to the chogori but a
little smaller in size. In winter, they vmre an addition-
al top, which was called a sog-chogori. Thus there were
three layers: first, the sog-juksam next to the skin,
22
the second layer a sog-chogori, and the outer long
chogori as an undergarment (Yoo, 1975, p. 495). With all
these layers, the women still had to maintain a rr..odest
appearance.
During the latter portion of the Yi dynasty, because the chogori was made shorter, the huridi was worn to prevent exposing the bosom. It was made of cotton or silk. For winter, it was quilted or padded and tied around the bust (Kim, 1963, p. 500).
Korean women spent a lot of time and energy in
taking care of their clothing. When washing needed to be
done, most of the garments were taken apart piece by
piece, washed, and soaked in a rice starch to restore the
fabric's crispness. They were then stretched and pounded
with heavy sticks to dry smoothly. When dry, they were
beaten again upon a smooth tree trunk until the cloth had
a brilliant luster (Hamilton, Austin and Terauchi, 1910,
p. 30).
Footwear
Korean women wore busun (PLATE XII, p. 25),
Korean socks, and shin, which are Korean shoes. Busun
were worn in all seasons and were padded with cotton for
the winter. Busun were usually made of white cotton and
fitted the foot tightly. Shoes were shaped like canoes
and were very stiff. The left and right shoes were
shaped alike and therefore were interchangeable. Both
men and women wore certain types of shoes, depending upon
24
their social position. Tangju, yunju, and suju (PLATES
XIII-XV, p. 27) \·lere made of leather on the bottom and
silk on the top and were worn by the nobility. The yunju
had a cloud painted design on the front and back. Jin
shin (PLATE XVI, p. 28), which had hobpails on the bottom,
were made of oiled leather and were worn by women on rainy
days. Namakshin (PLATE XVII, p. 28), or wooden shoes,
were also used on rainy days (Suk, 1971, p. 585).
Common people wore grass shoes or hemp or straw
sandals. Middle and lower class women wore shoes called
mitur~ (PLATE XVIII, p. 29} and jipsin (PLATE XIX, p. 29}
for everyday wear. Mituri and jipsin were similar in
style and shaped like canoes. The mituri were made of
hemp and were finer than jipsin, which were made of straw
(Yoo, 1975, pp. 504-05}.
Korean Women's Ceremonial Dress
Five different kinds of garments were basic to
ceremonial dress and were worn by the princesses and
upper class women in ancient Korea. These were called
jukoue, wonsam, whalot, tangoue, and queert's ordinary
clothes.
Jukoue
The juk~ (PLATE XX, p. 30} was one of the
highest ranking ceremonial costumes used in the palace;
26
PLATE XX
J UKOUE
•••••••••• ••••••••• ··-····· ••••••• . .......... . ••••••••••• • •••••••••• •••••••••••
~111111 I 11111111111 •••••• • •••••••••• ••••• • •••••••••• ••••• • •••••••••• ••••• • •••••••••• ••••••• • •••••••••• ••••••• • ••••••••••
(Suk, 1971 , p. 492)
3 0
it was presented as a gift from China during the Mung
dynasty (A.D. 1370) for the formal costume of the first
queens of the Yi dynasty (Suk, 1971, p. 499). This dress
was used as full formal dress at coronations until the
end of the Yi dynasty.
The jukoue \vas distinguished by pictorial
embroidery which included 160 pairs of pheasants and 472
large and small size flower patterns throughout the dark
blue silk satin. A seven-foot-long red band with a gold
dragon or a phoenix stamped or embroidered on it was
attached at the neckline, front opening, skirt hem, and
end of the sleeves. A decorative panel hung around the
neck and down the front of the garment (Suk, 1971,
p. 492).
Wens am
The wonsam (PLATE XXI, p. 32) was worn as a
ceremonial costume in the palace as well as by ordinary
women during the reign of King Kong Min of the last Koryo
dynasty (A.D. 1370). The wonsam worn in the palace was
more luxurious than that worn by ordinary women. Also,
the palace wonsam had a back panel which was longer than
the front. The wide sleeves, edged with crimson and
yellow, had attached white silk pieces to conceal the
hands. The crimson silk belt, which was four to five
centimeters in width and four to five meters in length,
31
33
was tied around the bust and dropped down to the floor in
the back {Suk, 1971, p. 122). Various gold designs were
used on the belt: dragons for the yellow wonsam,
phoenixes for the crimson wonsam, and flowers for the
green wonsam. The empress wore a yellow wonsam, the
queen a crimson wonsam, and a princess or commoner a
green wonsam. Ylonsams \vorn by ordinary women were less
luxurious and ornate than those which were worn by women
of the royal family. Women we~e expected to be calm and
self-composed when wearing the wonsam (Suk, 1971, p. 494).
Whalot
The whalot (PLATE XXII, p. 34), made of heavy
red silk, was used as a ceremonial costume for the women
of the royal family. Designs of lotuses, peonies,
phoenixes, clouds, waves, butterflies, and mountains were
embroidered on the shoulders, the end of the sleeves, and
the lower part of the gown. Later, the whalot was per-
mitted to be used as a wedding gown by the middle class.
The front of the dress was about thirty centi-
meters shorter than the back. The underarm side seam in
the bodice area was left open. The embroidered-sleeves
of yellow, crimson, or deep blue signified good fortune.
This whalot was first made during the Silla united
period (A.D. 826-835) (Suk, 1971, p. 122). l ,-~'"
Tangoue
The tangoue (PLATE XXIII, p. 36} came from the
Chinese Tang dynasty costume, and it was the simplest
ceremonial attire during the Yi dynasty. It was similar
in shape to the chogori, except that the front and back
bodice extended down to the knees and "curved beautifully
at the ends. The tangoue was made of green silk with a
crimson lining and had dark purplish-red strips that tied
at the center front below the collar. fA gold foil pattern
of flowers, bats, and letters meaning longevity and
happiness was placed on the area from the shoulder to the
sleeves and on the front and back bodice. This dress was
worn only by women of the royal families and those of
nobility. The queen and princesses wore the tangoue
daily so that they would not be confused with other
palace women (Suk, 1971, p. 122).
Queen's Ordinary Clothes
TThe queen usually wore a dark blue chima and a J
jade chogori1 (PLATE XXIV, p. 37). The queen avoided \
wearing a chima and chogori of the same color by tradi-
tion (Suk, 1971, p. 123).
The ceremonial dresses for the queen for various
occasions were kept constantly ready in a special facil-
ity by expert servants. Usually there were specialized
groups of trained servants to prepare the necessary
clothes for the royal family in rooms set aside for the
35
tasks. The chimbang was the room where sewing was done.
Other s~rvants were assigned to embroider, starch, and
iron in the soobang. Most garments used for the queen or
princesses were specially made from silk, using special
techniques. The queen wore a garment only once or bvice.
The worn garments were then given to women of the royal
family to honor them.
Colors of Costume
Five basic colors were used in Korean traditional
costumes--white, yellow, red, blue, and black (Choe, 1971,
p. 1). These colors were seen as harmonious with the
yin/yang system and the five elements theory.
The meaning of yin/yang and the five elements
theory was explained in the Encyclopedia of Philosophy
as follows:
Basically, it is conceived of two cosmic forces, one yin, which is negative, passive, weak and disintegrative, and the other yang, which is positive, active, strong, and integrative. All things are produced through the interaction of the two. Associated with the theory of yin and yang is that of the five agents or elements (vlo-hsing) : metal, wood, water, fire, and earth. According to this theory, things succeed one another as the five agents take their turns. Yin, yang, and the five agents are forces, powers, and agents rather than material elements. 'I'he whole focus is on process order, and laws of operation. Existence is viewed as a dynamic process of change obeying definite laws, following definite patterns, and based on a pre-established harmony (Choe, 1971, p. 1).
38
Individual Colors
Each color S}Tibolizes one of the five elements
plus a compass direction and a season.
White is the basic color in Korea. White
symbolizes the element metal and the \\'estern direction
and represents all seasons. It can be worn for all
occasions and by all ages {Suk, 1971, p. 112). In order
to make clothing white, Korean women historically boiled
their clothes in ash water {lye) and then dried them in
the sun. This process was especially effective on cotton.
The color yellow stands for the earth, the middle
direction, and autumn. Yellow signifies nobility.
During the Yi dynasty, only the Chinese emperor could
wear a yellow robe. The Korean king was not allowed to
wear yellow until after the Chinese lost their control of
the country.
Red was worn by the kings of Korea. Red symbol
izes fire, south in direction, and summer.
The color blue stood for the element wood, the
east direction, and spring. Traditionally, Koreans had
worn mostly white, but during the Yi dynasty, people were
frequently ordered to wear blue-colored clothing because
blue represented the color of the east point of the
compass, on which Korea was located, while white repre
sented the west. The officials dressed in blue, but the
people returned to wearing white again at the end of the
39
Yi dynasty.
The color black stood for water, north, and
winter. The government recommended that officers wear
a black hat and a blue robe.
In addition to these five colors, gray, light
green, green, and light blue were used. There were
various color combinations that were consistently used
in ancient Korean women's costumes to indicate social
status (Rutt, 1972, p. 223).
Color Combinations
Palace and upper class women during the Yi
dynasty wore yellow chogoris and red chimas. This color
combination was also used for wedding gowns. Red
symbolized wealth and force, and yellow meant fertility.
The red chima was worn only by young women of high class.
Lower class women wore pink chimas. Matrons wore a
yellow chogori and a blue chima. The blue represented
everlasting youth, as well as being the preferred color
of the Yi dynasty. Old women wore a light green chogori
and a blue chima. Middle class women wore a light blue
chogori and a blue chima for ceremonial occasions.
The everyday costume of forty to fifty-year-old
women was a blue or gray chima and a white choaori. A
cri,.mson ribbon at the front of the chogori indicated that
the woman was married. Indigo fabric bands at the ends
40
of the sleeves meant that she had a son or sons. To
wear both the indigo bands and the crimson ribbon was a
source of pride.
The combination of a light blue chogori and dark
blue chima was called a chumdambog. The Koreans wore the
chumdambog while visiting neighbors or relatives (Cho,
1956, p. 26). A white chogori, a black chima, and a
white apron were worn by a lower class woman.
In later periods, these color combinations lost
their class meanings except for special occasions.
41 p •
Chapter III
PROCEDURE
This study was designed to investigate the
possibility of introducing adaptations of Korean women's
ceremonial dress into current American styles.
The primary resource for the historic ceremonial
costumes was the History of Korean Traditional Costumes
by Suk Ju Sun (1971). Five court costumes were selected
as being adaptable to American styles. For each costume,
a sketch was made of a garment that incorporated the de
sign theme into a western style garment. (See Appendix B,
pp. 70-79). Colors were selected in line with those used
in the original ceremonial garments. Traditional fabrics
were used for two garments, but American fabrics with the
same design feeling were selected for three garments.
Draping was used to develop the toiles for the patterns
to be used for constructing the final garments. The
dress form used was the researcher's personal one. This
was in a small size which would be appropriate for many
Korean women.
Questionnaires were developed ~o assess the
subjects' opinions about their experience in seeing or
wearing Korean dress and about the acceptability of the
five draped garments.
42
43
The five garments were shmvn to 70 Korean women
who had lived in the United States for different periods
of time and to 30 Caucasian women.
A group of thirty women of diverse ages of
Caucasian heritage was used for comparison. All subjects
were obtained from church groups in the San Fernando
Valley--the Koreans from various Korean congregations,
and the Caucasians from the Presbyterian Church in Encino.
At each church service, the minister invited
people to see the garments after the service. Garments
were displayed and modeled in the fellowship hall or a
classroom in the church building. At the Caucasian
church, only the women attended. At the Korean churches,
the entire family was present for the presentation, but
only the \vomen' s responses to the questionnaire were used
in this study.
A chi-square test was used to determine the ~·-Z-·-
significane~ of the differences in frequency of responses
for eachc.r:uestion.
age.
Chapter IV
RESULTS AND DISCUSSION
Description of Respondents
The first question asked for the respondent's
(See Table 1, p. 45.) There was no significant
difference between American and Korean women in their age
groupings. Half of the Korean women were in the 35-49
age group and twenty-nine percent were in the 20-34 age
group. Of the total group of women, forty-three percent
were ages 35-49 and twenty-eight percent were ages 20-34.
The second question was, "Where were you born?"
The majority of the Caucasian womeu were born in the
United States. One person each was born in England,
Scotland, and Germany. Four Korean women who were under
20 years old were born in the United States; th~ rest
were born in Korea.
The third item asked, "How many years have you
lived in the United States?" All of the Caucasian women
who were born in the United States had lived their entire
lives in the United States. Those born in other countries
had lived in the United States more than 20 years. The
Korean women were divided into three groups. Twenty-nine
of the Korean women (41 percent) had lived in the United
44
--- ·---~~-'
TABLE 1
DESCRIPTIVE DATA ON THE RESPONDENTS
Descriptive Data
Age
Under 20 yrs. 20-34 yrs. 35-49 yrs. 50-64 yrs. 65 or more yrs.
Country of Birth
Korea United States Scotland England Germany
Years of Residence States
1-4 yrs. 5-9 yrs. 10 or more yrs.
in United
Korean Caucasian 'l'otal
6 20 35
5 4
70
66 4 0 0 0 -
70
Korean
29 22 19
70
3 9 8 28 8 43 5 10 6 10
30 100
Chi square -- 8.922 Degrees of freedom == 9 Significance == 0.5
0 66 27 31
1 1 1 1 1 1
30 100
Chi square == 12.437 Degrees of freedom == 9 Significance == 0.2
Percent
41 31 28
100
45
States 1-4 years, twenty-two (31 percent) had lived in
the United States 5-9 years, and nineteen {28 percent)
had lived over 10 years in the United States. There was
a significant difference between Caucasian and Korean
women in the number of years they had lived in the United
States, with Korean women having lived in the United
States for a shorter period of time.
Knowledge of and Experience with Korean Costume
Item 4 was, "Have you ever seen tradi·tional
Korean ceremonial costume?" There was a significant
difference between American and Korean women. The major
ity of Caucasian women had not seen traditional Korean
ceremonial costume. The majority of the Korean women
(94 percent) had seen traditional costume. (See Table 2,
Appendix C, p. 82.)
Item 5 asked respondents replying "Yes" to Item
4, "~vhat kinds of ceremonial costumes have you seen?"
Only three of the Caucasian women had seen Korean cere
monial dresses. In contrast, 91 percent of the Korean
vmmen had seen Korean ceremonial costumes. Costumes
ranked in order of frequency were whalot, wonsam, tangoue,
queen's ordinary~ and jukoue, with no responses made to
"others." (See Table 3, Appendix C, p. 83.)
Question 6 asked the respondents, "Have you ever
worn traditional Korean ceremonial costumes?" None of
46
the Caucasian \vomen had ever worn Korean ceremonial
costumes. Only 16 (22 percent) of the Korean women had
actually worn Korean ceremonial costumes. There was a
significant difference between the number of Caucasian
women and Korean women who had worn Korean ceremonial
costumes. When the three groups of Korean women were
considered separately, no significant difference was
found among them. (See Table 4, Appendix C, p. 84.)
Item 7 asked, "How often do you \vear traditional
Korean clothes?" The Caucasian respondents had never
worn traditional Korean clothes. Of the Korean women, 6
percent wore Korean costumes at least once a week; 18.5
percent of the respondents wore these garments at least
once a month; 40 percent indicated that they wore them at
least once a year; 18.5 percent answered that they wore
these garments less than once a year; and 17 percent had
never worn Korean ceremonial costumes. There was no
significant difference among the Korean women in terms of
years lived in the United States. (See Table 5, Appendix
C, p. 85.}
In response to Item 8, "How many traditional
Korean dresses to you have?", two of the Caucasian women
indicated that they had 1-5 traditional Korean dresses,
while almost three-fourths of the Korean women noted that
they had 1-5 traditional Korean dresses, 17 percent of
the Korean women had more than 5 traditional Korean
47
dresses, and 10 percent had no traditional Korean dresses.
There was a significant difference between Caucasian and
Korean women on responses to this item but no significant
difference among the three groups of Korean women.
Table 6, Appendix C, p. 86.)
(See
The ninth item asked, "Could you recognize a
Korean woman's social status by her traditional Korean
dress?" A majority of Korean women (69) indicated "Yes,"
but 28 of the Caucasian women answered that they could not
recognize a Korean woman's social status by her tradi
tional Korean dress. (See Table 7, Appendix C, p. 87.)
Item 10 asked of those women responding with a
"Yes" answer on Item 9, "What would help you to determine
her [a Korean woman's] social status?" One of the two
Caucasian women indicated that fabric would help her
determine social status. Fifty-four Korean women reported
that they would look at the garment's style to determine
social status. Color was selected by eighteen women,
fabric by eighteen, and other factors by three as helping
them to evaluate a woman's social status. (See Table 8,
Appendix C, p. 88.)
Opinions of Garments Shown
Questions 11-14 on the qu~stionnaire dealt with
the five garments that were adapted in a modern American
style from traditional Korean ceremonial costumes. These
48
garments wer.e sketched on the questionnaire in addition
to being shmvn to the respondents.
Item 11 asked the respondents, "If these styles
were available on the ready-to-wear market, would you
choose to wear any of them to replace your American
dresses?" There was a significant difference between the
responses of the Caucasian and Korean women. In all
cases, a much higher percentage of Korean women than
American women reported that they would select these
garments to replace their American dresses. There was no
significant relationship between the Korean women's
willingness to wear each garment and the number of years
they had lived in the United States. For the Caucasian
women, the order of preference was as follows, starting
with the most popular garments: Dress 5, adapted from
queen's ordinary dress; Dress 3, adapted from whalot,
Dress 4, adapted from tangoue; Dress 2, adapted from
wonsam; and Dress 1, adapted from jukoue. For Korean
women, in order from highest number of "Yes" responses to
the lowest number of "Yes" responses, the garment order
was Dress 5, Dress 2, Dress 3, Dress 4, and Dress 1.
(See Table 9, Appendix C, p. 89.)
Item 12 was, "If these styles were available on
the ready-to-wear market, would you choose to wear any of
them to replace your traditional Korean garments?" There
\<las a significant difference between the responses of
49
Caucasian and Korean women. A much higher percentage of
Korean vmmen noted that they '\•JOuld select these dresses
to replace their traditional Korean garments than did
Caucasian women. There was no significant difference in
the Korean women's interest in using any of the displayed
garments to replace their traditional Korean garments
based on the number of years they had lived in the United
States. For the Caucasian women, the order of preference
was as follows, starting with the most popular replacement
for traditional Korean garments: Dress 5, Dress 3, Dress
4, Dress 2, and Dress 1. In order of highest number of
"Yes" responses to lowest, the garment order was Dress 5,
Dress 3, Dress 2, Dress 4, and Dress 1 for the Korean
women. (See Table 10, Appendix C, pp. 92-94.)
Question 13, "Please rank them in the order in
which you like them, with your favorite ranked as 1 and
your least favorite ranked as 5," invoked the following
responses. Caucasian women's favorite garments were
ranked as Dress 5, Dress 3, Dress 4, Dress 2, and Dress
1. The Koreans ranked the garments as follows, starting
with the favorite as Dress 3, Dress 5, Dress 2, Dress 4,
and Dress 1. There was no significan~ difference in
ranking between the Korean and Caucasian groups.
Table 11, Appendix C, p. 95.)
(See
The last item, No. 14, was, "For each of the
garments, please indicate with a check (X) which aspect(s)
50
of the garment you like." For Garment 1 (from the
jukoue) , both groups of women liked the style best, then
the color, and last, the fabric. For Garment 2 (from
the wonsam), the Caucasian women liked the color best,
then the fabric, and last, the style. Korean women liked
the style best, then the color, and last, the fabric.
For Garment 3 (from the whalot) , both groups of women
indicated they liked the style best, then the fabric, and
last, the color. For Garment 4 (from the tangoue),
Caucasian women liked the color best, then the fabric,
and last, the style. Korean women answered first "style,"
second "color," and then "fabric." For Garment 5 (from
queen's ordinary clothes), Caucasian women indicated they
liked the fabric best, then the style, and last, the
color. Korean women indicated that they liked the style
best, then the fabric, and last, the color. In all
garments, a majority of Korean women liked the style
best. Only on Garment 4 was there a significant differ
ence between the responses of the Caucasian women and the
Korean women, with the Caucasian women preferring the
color and the Korean women preferring the style. There
was no significant difference in the responses between
the three groups of Korean women on any of the garments.
(See Table 12, Appendix C, pp. 96-98.)
Several Korean women told the researcher that
they were glad to see that someone was interested in
51
clothing needs of Korean women and hoped that someday
they would see the garments available in ready-to-wear.
52
Chapter V
SU.l'vlHARY, CONCLUSIONS, .A..ND RECOMMENDATIONS
Clothing is a many-faceted subject. The dress
directly reflects the cultural and social background of a
society; research on dress and on clothing materials
cannot be accomplished by itself. Thorough understanding
of the history for that particular society is required.
The costume of a people is influenced by many diversified
factors. /Although Korea has had its own traditional
costumes, there exists practically no evidence of cere-
menial dresses which belonged to the kingdoms before the
Yi dynasty.) Most of the information included in this ~~·--·"-!
study originated from or was related to the Yi dynasty.
The number of Koreans in American society is
continually increasing, with about one hundred and fifty
thousand residing in Southern California {"First Day ... ,"
1981).
Korean women, in particular, may have difficulty
in adapting their traditional lifestyles to blend with
those of their American neighbors. One problem they may
have is in finding clothing that is sized small enough
and that is sufficiently related to their traditional
clothing to be comfortable for them to wear but which is
53
also appropriate for their new lifestyles. This need can
possibly be met by using designs adapted from traditional
Korean dress to make western-styled garments.
For this study, five garments were adapted in
modern American style from traditional Korean women's
ceremonial garments. The fabrics selected varied.
Garment 3 was made from a Korean red silk fabric embroi
dered in the traditional manner with small flowers
strategically placed on the fabric to facilitate sewing
the garment into a traditional whalot. Garment 5 was a
bright blue silk with a woven-in traditional design
signifying good luck. The other three garments were made
from 100% cotton fabrics. Garment 1 was an orange flower
print made by Liberty of London. The bands on this
garment were made of an orange cotton fabric made in the
United States. Garment 4 was made of a natural color
cotton and a harmonizing cotton print in brown fabric.
Garment 2 was a purple print cotton velveteen with purple
cording trim.
The patterns for the garments were draped on the
researcher's dress form, a typical size for a Korean
woman.
The five garments were shown to 70 Korean women
who had lived in the United States for differing numbers
of years and to 30 Caucasian \-lomen. The Korean women
were divided into three groups: those who had lived in
54
the United States for one t.o four years, those who had
lived in the United States from five to nine years, and
those who had lived in the United States ten or more
years. The purpose of this classification by years of
residency was to determine whether Korean women would
become more acclimated to western styles if they had
lived in the United States for a longer period of time.
The Korean Homen we_re selected at three Korean Protestant
churches in the San Fernando Valley. The Caucasian women
were selected from those attending the First Presbyterian
Church in Encino. At tHo Korean churches and the Cauca
sian church, four garments were displayed on a dress form
and one garment was worn by the researcher. Four Korean
women plus the researcher modeled the garments at the
other Korean church.
The 100 women respondents gave information about
their backgrounds and about their familiarity with Korean
dress on a questionnaire. {See Appendix A, pp. 63-68.)
They also indicated their preferences for the garment
styles, fabrics, and colors as they viev1ed the garments.
One-way chi squares were calculated for each
question based on the total number of responses of the
Korean \olOmen and the Caucasian women to determine whether
there was any significant difference bet\veen the two
groups in terms of background and preferences for the
garments shovm. In addition, a comparison was made among
55
the Korean women who were divided into three groups based
on the number of years they had lived in the United
States.
The results of the study shO\ved that a significant
number of Korean respondents '"auld v1ear all of the five
garments and that the majority selected their preferred
design on the basis of style, then fabric, and last,
color. The Caucasian women selected first on the basis
of color, then on fabric, and last, on style.
A significant number of Korean \vomen also indi
cated that, if the five garments were available on the
ready-to-wear market, they would choose to wear them to
replace their American dresses and that they would choose
to wear them to replace their traditional Korean garments.
This finding was not affected by the number of years the
subjects had lived in the United States.
Korean women ranked the garments in order of
preference as follows, starting with the highest ranked:
Dress 3 (from whalot), Dress 5 (from queen's ordinary
clothes), Dress 2 {from wonsam), Dress 4 (from tangoue),
and Dress 1 (from jukoue}. The Caucasian women's
favorite garments were ranked as Dress 5, Dress 3, Dress
4, Dress 2, and Dress 1. There was no significant
difference in ranking between the Korean and Caucasian
groups.
The results of this study were evaluated in terms
56
of the previously formulated null hypotheses.
Hypothesis 1. There is no significant difference
in the acceptability between \vomen of Korean heritage and
women of Caucasian heritage.
Since a significant number of Korean women indi
cated that they would \vear the garments 1 that they ranked
the style of the garments higher than the color (the
Caucasian women selected the style as last place) 1 and
since a much higher percentage of Korean women would
select these dresses to replace their traditional Korean
garments than would Caucasian women, the null hypothesis
was rejected with a .05 level of significance and the
research hypothesis was accepted.
Hypothesis 2. There is no significant difference
in the acceptability of the garments designed, depending
upon the number of years women of Korean heritage have
lived in the United States.
There was no significant difference in the
acceptability of the designed garments by Korean women,
relative to the number of years they had lived in the
United States.
Hypothesis 3. There is no significant difference
in the acceptability of the garments designed for this
research and the availability of western fashions to women
of Korean heritage.
There was no significant difference between the
57
acceptabili~y of the designed garments and that of
available American fashions to the women of Korean heri
tage.
There appears to be a need for special designs
for dresses for women of Korean heritage and clothing
manufacturers and pattern companies should be made aware
of this need and be encouraged to pursue the subject.
Recommendations for Further Study
The following recommendations are set forth for
those desiring to continue research into this area in the
future.
1. A study to determine whether Korean men find American
garments suitable.
2. An anthropometric study of Koreans and other Orientals
to develop more appropriate sizing standards for
manufacturers desiring to produce garments for this
market.
3. A study researching the ready-to-wear market to
determine v1hat manufacturers are doing to meet the
needs of women of Korean and other Oriental heritage.
4. A study to investigate the marketing of a new line of
clothing based on Americanizing of traditional Korean
dress.
58
REFERENCES
Anspach, Karlyne A., and Yoon Hee Kwon. "Western Dress Styles Adopted by Korean Women." Home Economics Research Journal, 4:235-42. June, 1976.
Cho Chung Kyung. Korea Tomorrow. New York: Macmillan, 1956.
1 Choe Ok Ja. "Study of Color and Design of the Yi Dynasty by Observing Contemporary Relics of the Period." Sudo Education College Treatise, V, 1971.
"First Day of President's U.S. Visit." The Hankook Ihbo, January 30, 1981, p. 9.
Hamilton, A., H. H. Austin, and M. Terauchi. Korea. Boston: Millet, 1910.
Kavanaugh, Gere. "Silk Textiles: Korean Treasures in Silk from Korea." Journal of Interiors, 5:127-39. October, 1976.
~irn Bun Og. The Pattern of Korean Traditional Costume. Seoul: Seoul National University Press, 1972.
/Kim, D. U. A Study of Dress and Clothing in the Early Yi Dynasty. Seoul: Korean Research Center, 1963.
Lowell, Percival. Choson: The Land of the Morning Calm. Boston: Ticknor, 1951.
Matthews, Lillian B. "Relationship between Traditionalism of Dress and Social Values of Ghanaian Women." Horne Economics Research Journal, 7:389-98. July, 1979.
Pow Key Sohn, Cho Choon Kim, and Yi Suo Hong. The History of Korea. Seoul: Royal Asiatic Society, 1972.
Rutt, Richard. History of the Korean People. Seoul: Royal Asiatic Society, Korea Branch, 1972.
/Suk Ju Sun. The History of Korean Traditional Costumes. Seoul: Pojinje, 1971.
/Walton, Perry. The Story of Textiles. New York: Tudor, 1925.
59
\voo Keu Han. The History of Korea. Seoul: Eul-Yoo, 1970.
Yoo Hi Kyong. A Study of Korean Traditional Costumes. Seoul: Ewha \vomen's University Press, 1975.
60
QUESTIONNAIRE
1. What is your age?
a. under 20 years old c. 35-49 e. 65 or over·
b. 20-34 d. 50-64
2. Where were you born?
a. Korea c. Other country (please indicate)
b. United States
3. How many years have you lived in the United States?
4. Have you ever seen traditional Korean ceremonial costumes?
a. Yes b. No
5. If Yes, what kinds of ceremonial costumes have you seen?
a. Jukoue c. Whalo·t e. Queen's ordinary clothes
b. Wonsam d. Tangoue f. Other (please indicate)
6. Have you ever worn traditional Korean clothes?
a. Yes b. No
7. How often do you wear traditional Korean clothes?
a. At least once a week c. At least once a year e. Never
b. At least once a month d. Less than once a year
Cl'l vJ
8. How many traditional Korean dresses do you have?
a. None b. 1-5 c. More than 5
9. Could you recognize a Korean woman's social status by looking at her traditional Korean dress?·
a. Yes b. No
10. If Yes, what would help you to determine her social status?
a. Color c. Style
b. Fabric d. Other (please indicate)
YOU HAVE SEEN FIVE GARMENTS THAT ARE ADAPTED IN A MODERN
AMERICAN STYLE FROM TRADITIONAL KOREAN CEREMONIAL COSTUMES
11. If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American dresses?
1. 2. 3. ~ 4. 5.
Yes Yes Yes Yes Yes
No No No No No
"" ~
12. If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments?
1. 2. 3. 4. 5.
Yes Yes Yes Yes Yes
No No No No No
13. You have seen five garments. Please rank them in the order in which you like them, with your favorite ranked as 1 and your least favorite as 5. (Please rank all garments.)
__ garment 1 __ garment 2 __ garment 3 __ garment 4 __ garment 5
14. For each of the garments, please indicate with a check ( ) which aspects of the garment you like.
1. color 2. color 3. color 4. color 5. color
fabric ·fabric fabric fabric fabric
__ style __ style _style __ style __ style
0'\ (.,11
67
c» (V.
--:;1 -'-~
"f I.
~ ~ ~ 1 -~ ~" tJ . ~
\-\ ~ i;,\ \.J')
~)
--< ~.-:;:?
<:)~ ~~
ot
():::\ o\ ~\- 0 3
::J" .L. 0
~ ~ -"" ~0 ~ ~
.,...)-
~ :!) ~Q ~
\< t.'S) o\\'J
({) V>'
~ 1\}\ --... ~ ol ~\ <>
.l.-~~- I.J o\CJ ~
~ ~ 'T 8~ £l
k
o-1
1,.0 -.J
-....../ ~~ g I
(,IV JJ\1' .;;::-\ ~ 1 .l- :s t<!-0-::;:
u
~0 A)
w -<I t-- r\03)\ ~ ~
tV-1 ..,· -Q ()f~
(t\.1
of
~
1:!-r~
~
Jl
L) ~ ¥ --- t"--
d '< w \!:) ..L
~C)\
~
8'" I 0
cr ~~ :tr-.
~
:II
~ 0 ...L ..J...
A) " ov r\f' .1...\ ""' ~.)
I<
~ .J...
:,-~ .!_\ (' ~
7:/ It)
~ {{)
....,
\..)\
1.'t'-~!\.1 to ro ~I
o-1
!-O'J ~{' ()¥.
01 i I
~II}
0
l J)
t)
w \f.n)
0
gr--a)
~ ~ -·
0 ....:
68
(JV ol
..L J
\r)" ~ ~ ~ ~
-g ...L ~~ o\<.. 0 ..L\
) o'vl 71-
0=1 ~ -<
\)\
.\._'<;-
::t.~ od
~ \:..'-" '<
:z~ \t)
~ lri 2
~\-
A.O
~\W "lP ~ ~ ;_a ~
'"f._-{ <H ~
\lY
l\<l ~~ ~ 1\.)
J v <I
Q) g ...L .£ \< 0 -:;}-
M l.n -t..l
of I "£ ~
~ .J
\JI
Ciof.
~ ~~ 0
rd ,.r ~ C)'(,)
~
oiJ
-II,)
-J ~\) ~ ~a
~
~ cH ()\~
A}
uO ~ ~ ot< .t\
8 I ~ ~-1:.~
0
"&' ~ -d lV I -;J ~
ov r~ ul \)\
-}--'-f'o.
~ .,
1.) ~ «>" ~
~ 11) ~ r ~
(J\1 ~ '!:-.o
i;r-i< ~()
,I.)
ol ~ oK <.I
...J.. "& I ~
" Q r:-l -t..l r-1
........ ;! ;G ~
\J{
I'< _,_ 1"- "m> lll!rJ f'(
l.r) .(/ ..!..I - ri.
.(J ;t, JJ
i(i
IJf L)J
\II ~ ~ -au
I ~ ;,p. ..L.
\)~ \3
J( -l.]. K ~f\ ok . 'IJ
......
m J.. (J
0 " "-!C) I.e)
Q
2: ov oiJ
oJ -J ";;(}
-.-« fp tp
--i
d !2 ~
Garment 1: Style Adapted from Jukoue
Back
Front
V-neckline, short sleeves and mid-knee length. Orange color bia s band e x t e nding down the front. Slit trimmed with orange bias band. Two tucks on front shoulders. Back zipper. Front closing with three buttons. 100 % cotton, orange flower print made by Liberty of London. Bands of an orange cotton fabric made in the United States.
70
Garment 2: Style Adapted from Wonsam
Back
Front
Ankle length, semi-fitted one-piece dress with vneckline and cording trim at neckline, end of ~leeves, and raised waistline. Back invisible zipper closing. Princess line seaming front and back. 100% cotton velveteen with purple flower print for garment with purple velveteen for cording.
72
Garment 3: Style Adapted from Whalot
Front
Surplice neckline to waist. Long dress with side zipper closing. Full rounded shaped sleeves. Two pleats in skirt at waist. Korean red silk fabric embroidered in the traditional manner with small flowers placed strategically.
74
Garment 4: Style Adapted from Tangoue
Back
Front
Back zippered midi-length dress with a two-piece stand-up collar. Long sleeves gathered into cuffs. Princess seaming. Combination of 100% natural color cotton and a harmonizing print in brown fabric.
76
Garment 5: Style Adapted from Queen's Ordinary tlothes
Front
Back
Mid-knee length gathered one-piece dress with surplice neckline to waist, full-length set-in rounded sleeves, self-tie belt in back. Back invisible zipper closing. Bright blue 100% Korean silk.
78
Chi Square Analysis
Levels of probability used to
test for significance were
.OS and .01. The symbols used
to denote significance were:
.OS level *
.01 level **
.001 level ***
81
TABLE 2
Question 4: Have you ever seen traditional Korean cere-monial costumes? vs
Question 2: Where were you born?
Question 4 I
Question 2 Yes No Total ---------------------------------------------------------Caucasian
Korean
3
66
69
27
4
31
30
70
100
Chi square = 69.744 Degrees of freedom = 3 Significance = .001***
Question 4: Have you ever seen traditional Korean cere-monial costumes? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question
Question 3 Yes
1-4 yrs. 29
5-'-9 yrs. 20
10 yrs. and over 17
66
4
No Total
0 29
2 22
2 19 - -4 70
Chi square= 3.038 Degrees of freedom = 5 Significance= 0.7
82
TABLE 3
Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs
Question 2: Where were you born?
Question Ld~0 2 ~0
Caucasian 0 0 0 0 0 3
Korean 24 45 44 40 32 0
24 45 44 40 32 3
Chi square = 185.531 Degrees of freedom = 11 Significance = .001***
Question 5: If Yes (to #4), what kinds of ceremonial costumes have you seen? vs
Question 3: Ilow many years have you lived in the United States? (Korean responses only)
Question 3
1-4 y.rs. 10 18 19 18 10 0
5-9 yrs. 8 19 16 16 15. 0
10 yrs. and 6 8 9 6 7 0 -over 24 45 44 40 32 0
Chi square = 18.77 Degrees of freedom ::: 17 Significance = 0.5
83
TABLE 4
Question 6: Have you ever \vorn traditional Korean cere-monial costumes? vs
Question 2: Where were you born?
Question 6
Question 2 Yes
Caucasian 0
Korean 16 -16
No Total
30 30
54 70
84 100
Chi square= 8.162 Degrees of freedom = 3 Significance = .02*
Question 6: Have you ever worn traditional Korean cere-monial costumes? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 3 Yes
1-4 yrs. 7
5-9 yrs. 5
10 yrs. and 5 over 17
Question 6
No Total
22 29
17 22
14 19 -53 70
Chi square = 0.185 Degrees of freedom = 5 Significance = 0.99
84
TABLE 5
Question 7: How often do you wear traditional Korean clothes?
Question 2: Where were you born?
..z, 0
0ro- ro-"y 0 ~~
X., (; 0
Question 2 "\' OJ:: ~ 0
Caucasian 0 0 0
Korean 4 13 28 -4 13 28
vs
I 0 30
13 12
13 42
Chi square = 59.081 Degrees of freedom = 9 Significance = .001***
Question 7: How often do you wear traditional Korean clothes? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 3
1-4 yrs. 3 7
5-9 yrs. 1 3
10 yrs. and over 0 3
4 13
15
7
6 28
ra-J::
Sro-
2 2
6 5
5 5
13 12 Ch1 square = 13.28 Degrees of freedom = 14 Significance = 0.5
85
TABLE 6
Question 8: How many traditional Korean dresses do you have? vs
Question 2: ~-J'here were you born?
Question 8
Question 2 None 1-5 More than 5 ~~-------------------------------------------
Toi:al
Caucasian
Korean
28
7
35
2
52
54
0
11
11
30
70
100
Chi square = 64.14 Degrees of freedom = 5 Significance = .001***
Question 8: How many traditional Korean dresses do you have? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Quest.ion 3 None
1-4 yrs. 2
5-9 yrs. 4
10 yrs. and over 1
7
Question 8
1-5
21
16
15
52
More than 5 Total
6 29
2 22
3 19
11 70
Chi square = 3.27 Degrees of freedom = 8 Significance = 0.9
86
TABLE 7
Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress?
Question 2: Where were you born?
Question 2
Caucasian
Korean
Question 9
Yes
2
61
63
vs
No
28
9
37
Total
30
70
100
Chi square= 58.344 Degrees of freedom = 3 Significance= .001***
Question 9: Could you recognize a Korean woman's social status by looking at her traditional Korean dress? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 3
1-4 yrs.
5-9 yrs.
10 yrs. and over
g_uesti_on 9
Yes
28
17
16
61
No Tot.al
1 29
5 22
3 19
9 70
Chi square = 3.85 Degrees of freedom = 5 Significance= 0.7
87
Question 10:
Question 2:
Question 2
Caucasian
Korean
TABLE 8
If Yes {to # 9) , what would help you to determine her social status? vs
Where were you born?
Question 10
o"- / ,.,..,6 0fL_ ~ . - ~1Y
0 1
18 18
18 19
1
54 -55
0 2
3 93 -3 95
Chi square = 35.334 Degrees of freedom = 7 Significance ~ .001***
Question 10: If Yes (to #9), what would help you to determine her social status? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 3
1-4 yrs. 9 5 25 1 40
5-9 yrs. 8 9 15 2 34
10 yrs. and 1 4 14 0 19 -over 18 18 54 3 93
Chi square = 12.592 Degrees o£ freedom = 11 Significance = 0.3
88
TABLE 9
Question 11: If these styles were available on the ready-to-wear market, would you choose to
·wear any of them to replace your American dresses? vs
Question 2: Where were you born?
Question 2
Caucasian
Korean
Yes
8
55
63
Dress 1 ~~---------------------------Question 11
No Total ------- -------------~-----------
22
15
37
30
70
100
Chi Square = 31.551 Degrees of freedom = 3 Significance = .001***
Question 11: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your American
Question 3:
Question 3
1-4 yrs.
5-9 yrs.
10 yrs. and over
dresses? vs
How many States?
Yes
19
19
17
55
years have you lived in the United (Korean
Question
responses only)
11
No Total
10 29
3 22
2 i9 -15 70
Chi Square = 5.04 Degrees of freedom = 5 Significance = 0.5
89
90
TABLE 9
Dress 2 Question 11
Question 2 Yes No Total
Caucasian 13 17 30 Korean 64 6 70
77 23 100 Chi Square = 27.428 Degrees of freedom == 3 Significance = .001***
Question 11
Question 3 Yes No Total
1-4 yrs. 26 3 29 5-9 yrs. 20 2 22 10 yr:s. and 18 1 19
over 64 6 70 Chi Square = 0.37 Degrees of freedom = 5 Significance = 0.99
Dress 3 Question 11
Question 2 Yes No Total
Caucasian 19 11 30 Korean 62 8 70
81 19 100 Chi Square = 8.690 Degrees of freedom = 3 Significance = .05*
Question 11
Question 3 Yes No Total
1-4 yrs. 26 ·3 29 s-q yrs. 21 1 22 10 yrs. and 15 4 19
over 62 8 70 Chi Square - 2.79 Degrees of freedom = 5 Significance = 0.8
Question 2
Caucasian Korean
Question 3
1-4 yrs. 5-9 yrs. 10 yrs. and
over
Question 2
Caucasian Korean
Yes
18 60
78
Yes
24 18 18
60
Yes
22 67
89
TABLE 9
Dress 4 Question II
No Total
12 30 10 70
22 100 Chi Square = 8.091 Degrees of freedom Significance ::= .05*
Question 11
No Total
5 29 4 22 1 19 -
10 70 Chi Square ::= 1. 73 Degrees of freedom Significance = 0.9
Dress 5 --Qu_e s t io-n-! .....,1~1::----
No
8 3
Total
30 70
11 100
::= 3
= 5
Chi Square = 10.742 Degrees of freedom = 3 ~Sig:nificance = ~*--
==============-=-=~~-~~~~~~~~~~==~ Question 11
Question 3 Yes No Total
1-4 yrs. 28 1 29 5-9 yrs. 21 1 22 10 yrs. and 18 1 19
over 67 3 70 Chi Square = 5.991 Degrees of freedom = 5 Significance = 0.5
91
TABLE 10
Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? vs
Question 2~ Where were you born?
Dress 1 Question 12
Question 2 Yes No Total
Caucasian 8 22 30
Korean 46 24 70 --54 46 100
Chi Square = 12.888 Degrees of freedom = 3 Significance == .01**
Question 12: If these styles were available on the ready-to-wear market, would you choose to wear any of them to replace your traditional Korean garments? vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 3 Yes
1-4 yrs. 17
5-9 yrs. 18
10 yrs. and 11 -over 46
Question 12
No
12
4
8
24
Total
29
22
19
70
Chi Square== 4.34 Degrees of freedom == 5 Significance == 0.5
92
Question 2
Caucasian Koresn
Yes
10 57
67
Question 3 Yes -=-------------------1-4 yrs. 5-9 yrs.
25 16 16
TABLE 10
Dress 2 Question 12
No
20 13
33
Question 12
No
4 6 3
Total
30 70
100 Chi Square = 21.970 Degrees of freedom = 3 Significance= .001***
Total
29 22 19 10 yrs. and
over 57 13 70 ---------------------- ---------------~Chi Squa_r_e-.--=~3-.~6~2~---
Question 2 Yes ~~-------------------Caucasian Korean
19 63
82
Dress 3 Question 12
No
11 7
Degrees of freedom = 5 Significance= 0.7
Total
30 70
18 100 ----------------------------------------
Question 3
1-4 yrs. 5-9 yrs. 10 yrs. and
over
Yes
24 21 18
63
Question 12
No
5 1 1
Chi Square = 10.115 Degrees of freedom = 3 Significance = .02*
Total
29 22 19
7 70 ----~-c=h~i· Square = 4.44
Degrees of freedom = 5 Significance = 0.5
93
Question 2
Caucasian Korean
Question 3
1-4 yrs. 5-9 yrs. 10 yrs. and
over
Yes
10 50
60
Yes
22 17 11
50
TABLE 10
Dress 4 Question 12
No
20 20
Total
30 70
40 100
Question 12
No
7 5 8
Chi Square = 12.696 Degrees of freedom = 3 Significance= .01**
Total
29 22 19
20 70 ~------------------------------------Chi Square = 2.512
Question 2
Caucasian Korean
Question 3
1-4 yrs. 5-9 yrs. 10 yrs. and
over
Yes
22 66
88
Yes
27 21 18
66
Dress 5 Question 12
Degrees of freedom = 5 Significance = 0.8
No Total
8 4
12
Question 12
No
2 1 1
30 70
100 Chi Square= 8.728 Degrees of freedom = 3 Significance= .05*
Total
29 22 19
4 70 Chi Square- 1.334 Degrees of freedom = 5 Significance = 0.95
94
TABLE 11
Question 13: Please rank them in the order in which you liked them, with your favorite ranked as 1 and your least favorite ranked as 5. vs
Question 2: Where were you born?
Question 13 Spearman
Question 2 Garment l 2 3 4 5 rho
Caucasian Total 118 103 70 92 67 .050
Rank 5 4 2 3 1 Signifi-cance = N.S.
- - - - - - - - - - - - - - - - - - - -Korean Total 298 222 152 225 153 .050
Rank 5 3 1 4 2 Signifi-cance = N.S.
9S
TABLE 12
Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of the garment you like. vs
Question 2: Where were you born?
Dress 1 Question 14
Question 2 Color Fabric Style Total
Caucasian 9 5 16 30
Korean 18 14 47 79
27 19 63 109
Chi Square = 0.9 Degrees of freedom = 5 Significance= 0.98
Question 14: For each of the garments, please indicate with a check (X) which aspect(s) of the garment you like. vs
Question 3: How many years have you lived in the United States? (Korean responses only)
Question 14
Question 3 Color Fabric Style Total
1-4 yrs. 3 3 17 23
5-9 yrs. 10 7 15 32
10 yrs. and 5 4 15 24 -over 18 14 47 79
Chi Square = 4.32 Degrees of freedom = 8 Significance = 0.9
96
TABLE 12
Dress 2 Quest-ion 14
Question 2 Color Fabric -
Caucasian 15 13 Korean 28 25
43 38
-Question 14
Question 3 Color Fabric -------1-4 yrs. 10 11 5-9 yrs. 8 7 10 yrs. and 10 7
over 28 25
Dress 3 Qu~stion 14
Question 2 Color Fabric
Caucasian 13 13. Korean 25 33
38 46
Question 14
Question 3 Color Fabric
1-4 yrs. 10 14 5-9 yrs. 10 10 10 yrs. and 5 9
over 25 33
Style Total
10 38 44 97
54 . 135 Chi Square = 4.19 Degrees of freedom Significance - 0.7
Style Total
16 37 10 25 18 35
44 97 Chi Square :::: l. 37 Degrees of freedom S:ig_nificance :::: 0.99
Style Total
23 49 48 106
71 155 Chi Square :::: 0.58 Degrees of freedom Significance
Style
20 15 13
48
= 0.99
Total
44 35 27
106
==
::::
::::
5
8
5
Chi Square - 1.58 Degrees of freedom = 8 Significance = 0.99
97
98
•rABLE 12
Dress 4 Question 14
Question 2 Color Fabric Style Total
Caucasian 14 9 6 29 Korean 27 10 50 87
41 19 56 116 Chi Square = 12.98 Degrees of freedom == 5 Significance = .05*
Question 14
Question 3 Color Fabric Style Total
1-4 yrs. 10 3 20 33 5-9 yrs. 10 6 15 31 10 yrs. and 7 1 15 23
over 27 10 50 87 Chi Square = 3.79 Degrees of freedom = 8 Signific_ance = 0.9
Dress 5 guestion 14
Question 2 Color Fabric Style Total
Caucasian 20 24 22 66 Korean 38 39 57 134 -
58 63 79 200 Chi Square = 2. 69 3 Degrees of freedom = 5 Significance == 0.8
Question 14
Question 3 Color Fabric Style Total
1-4 yrs. 20 15 25 60 5-9 yrs. 8 15 17 40 10 yrs. and 10 9 15 34
over 38 39 57 134 Chi Square == 6.16 Degrees of freedom = 8 Significance = 0.7
----